Nature

I’ll be at Leeds Birdfair on 24th June at Rodley Nature Reserve. Come say hello and check out my range of Photography Prints and Greetings Cards – or just come and have a chat.! Looking forward to seeing lots of keen birders and meeting the other exhibitors too. This is the second Leeds Birdfair, established by Linda Jenkinson from Start Birding. Linda has an incredible knowledge of birds and runs a number of birdwatching courses for all levels. Hopefully this event will continue to grow and grow in future years. I’m very happy to be part of it.

Great news! I’m very happy to report that RSPB St. Aidans Country Park will now open on Monday 10th April. The site, between Leeds and Castleford in Yorkshire, has been cultivated into a world class nature reserve. I’ve been photographing here for the past three years, capturing stunning images of both the landscape and its wildlife. I regularly run Photography Workshops at St. Aidans, aimed at beginners. Few people know the site as well as I do, so why not come and take advantage of my local knowledge.

It was a few short words in a travel magazine that began it all: my obsession with Long eared Owls. I had never heard of the owl roosts in Serbia, but after researching on the net I decided to try my luck at photographing the Long eared Owl roosts that occur each winter in Serbia.

My first visit was in November 2015. After researching other locations for bird photography I spent my last day in the northern town of Kikinda, famed for its owl roosts. The day was wall to wall sunshine; glorious. At first the owls were barely noticeable, but then I suddenly spotted my first one – perched on a clear branch overlooking a well used path. It’s then that you begin to see what’s really there. As I walked under the trees I could make out another, slightly hidden behind the foliage – and then another, and then… well, when you really start to look you realise there’s actually about six all sat within a few feet of each another! I found one conifer tree and counted around twenty, all sat quietly above me. That day I barely stopped, shooting as much as I could. Most images were taken with a Canon 400mm and a 1.4x extender but sometimes it was possible to shoot with the 400mm alone.

Long eared Owls have been roosting in Kikinda for years – in huge numbers. The surrounding farmlands are perfect for hunting, providing the owls with a high number of voles. With virtually no surrounding trees, the town makes the perfect (and only) roosting site. The streets are lined with both deciduous and evergreen trees, ideal for owls to roost during the day. The added heat of the town also helps the birds to avoid the harsh temperatures of the Serbian winter.

Seeing the owls in such numbers in this fascinating urban habitat had really got under my skin. I just had to go back! February 2016 saw my second visit, but with poor weather it proved to largely a recce trip. I was introduced to two new owl roosts though – both with photographic potential.

It was December 2016 when I made my third visit. Through new Serbian contacts I was granted access to higher floors of buildings; enabling me to get to the same level as the owls! With a spell of settled weather forecast I booked my flight with literally two days notice. This trip was undoubtedly the best so far. It also drew the attention of Serbian TV who Filmed me in Kikinda! During this trip I was able to get to eye level with a number of owls and explore more locations for future visits. Things were looking good..

One of the most exciting aspects was the possibility of capturing images at twilight. This would be virtually impossible had it not been for the nearby street lights. The result was images of Long Eared Owls with twilight skies lit purely by a mixture of natural and artificial light. Magical!

This type of photography sure does test your long lens technique.! The only way to achieve pin sharp results with my newly acquired Canon 500mm lens was to rest a beanbag on top of an empty tripod head. Shutter speeds were insanely slow… and ISOs high. But.. it was possible – and the results… absolutely stunning! I really doubt it’s possible to do this anywhere else on the planet. It truly is unique.

There’s no doubt the Long eared Owl roosts of Serbia are a true spectacle. Watching them sat in the trees peering down at passers by is quite bizarre. Its urban wildlife at its best!

If you’re interested in this unique experience why not book yourself onto one of the Serbian Owl Photography Tours in December. Serbia is a country full of surprises and this surely is one of its best.

Processing some images for picture libraries I was quite drawn to this cheeky robin. You’d think this kind of image was easy but in reality there are few opportunities when everything comes together for perfect bird portraits. Photographed one crisp February morning, the quality of light made all the difference – along with a nice diffused background. The bird itself also managed to strike a good pose! Perhaps surprisingly this was the first time I had specifically aimed for this image.

European Robin (Erithacus rubecula) adult, perched on spade handle in garden, West Yorkshire, England, February

Most of my wildlife photography is done in the wild but occasionally I’ll take advantage of some captive set-ups to add a new subject to my portfolio. Harvest mouse is a subject I’d wanted to photograph for a while so I took the opportunity to visit Alan Heeley, a wildlife photographer in Derbyshire. Alan keeps harvest mice and provides workshops for photographers who want to get high quality images of Britain’s smallest mammal.

I knew they were going to be tough but I was still surprised how fast they were! It really took about 15 minutes to get my eye in, by which time my images were starting to improve. We used a range of props, all natural looking, and an artificial background which worked well. The light was quite overcast but this made life easier, avoiding strong highlights and dark shadows. After a while we switched to a lighter background which I preferred and continued to vary the props – teasel, wheat stalks, flower heads and bramble were all used. Alan was really helpful in changing props and backgrounds – and giving tips on capturing the best images. He has a great sense of humour too so it’s always good fun.!

The harvest mice put on a great show, at times posing really well. Tripods are pretty useless here – due to the nature of these fast moving creatures you really need to shoot handheld so can move around and react quickly. I shot with a Canon 100mm macro lens which could fill the frame if necessary. The biggest difficulty was getting a high enough shutter speed with a good enough depth of field for sharpness. When getting in close, depth of field was tiny, even at my chosen aperture of f/9. I opted for an ISO of around 2000 to get good settings and with the lighter background noise was minimal on my Canon 1D Mark iv.

It was certainly a fun session – exhausting too as it takes a lot of concentration with such quick animals. If you want to photograph these adorable little animals email Alan: alan.heeley1@btinternet.com

The bramble was my favourite setting and this mouse was a right poser! Wonderful to spend a couple of hours with these tiny mammals. A big thanks to Alan Heeley – you can see more of his work at Alan Heeley Wildlife Photography

It’s barely past 5.00am and I’m standing ankle deep in water next to my tripod, waiting patiently for the sun to climb above the tree-lined horizon. Already I can tell that I’ve made a good decision: the predicted early morning mist is clinging to the shallow pool and swirling in the soft breeze; the sky is largely clear but with the added touch of low cloud straight ahead. My composition is wide, to encompass the urban surroundings of this fascinating place. I’m happy with the foreground – the low sun will highlight the plants, revealing texture and form. I take a test shot before the sun rises but know the resulting image is flat; lifeless. It needs the light. The light will transform everything.

Gradually the sun begins to break, shining through the mist and casting its warm glow upon my carefully composed scene. I continue to shoot for the next ten minutes watching minute shifts in light and shade and subtle changes to the moving mist. Quickly it becomes too bright to continue and I know that the first exposures were the best. I pack up my gear and search for different photo opportunities in stronger light.

There are many ingredients that create a successful nature photograph but perhaps the biggest is actually ‘being there’. This does not mean simply turning up and shooting – it means a careful, considered approach to put you in the right place at the right time. With enough research you can visualise your image and arrive at the perfect hour in the best weather conditions. I often think how many nature and landscape photographs I have on file, but how many are truly good ones? It’s almost always the case that the most compelling of images are those that were carefully thought, crafted and executed. A little effort can go a long way…

Such is my love of photographing wildlife that when I turn my attention to other subjects it can feel like a complete shift in mind set. But there’s no doubt that this can be a good thing. I’d purposefully set out early to concentrate on macro images close to home with a few ideas in mind. I find close up photography is often led by my own instinct and it takes me while to ‘get my eye in’. When first approaching a flourishing stand of Oak trees I found it difficult to separate the buds and to see the best photo opportunities. But, fifteen minutes or so later, after carefully searching through the branches I was beginning to satisfying my own creative intent.

Light is a key driver in all photography and certainly in macro work. Working in partial shade I could capture good colour in the freshly unfurling leaves. Within half an hour contrast was increasing rapidly due the rising sun and I was unable to capture the detail effectively as at first light.

As contrast increased I moved further into the shade, finding a beautiful Oak gall – a colourful and interesting shape.

Stepping back I could see the galls and leaves were creating a nice pattern, so I switched to a wider shot and composed vertically.

I continued to search, using my instincts. The catkins drew my attention, not only due to their stunning shapes and colour but also the way they stood out from the clean grey background. For this shot I got in even closer, increasing my aperture and taking a number of shots to ensure a pin sharp result.

Realising that it was now becoming too bright to do justice to any more macro images, I looked for some different views of the Oak branches against the blue sky.

I was happy with the images I’d taken in a short space of time. But more importantly I felt like I’d done something purely for me. And this is the best part of photography – letting your creative juices flow, unshackled by necessity; direction led not by what I ‘should’ be taking, but rather by what my soul ‘needs’.

It’s during late October and early November that I try to squeeze in an autumn woodland shoot. For my style of photography I find this time to be the best as it usually coincides with more gaps in the trees and more leaf litter on the woodland floor. This particular woodland in West Yorkshire is one that I have visited once before – back in the days of film! When visiting a relatively new location I find that it pays to keep an open mind and not be too rigid in your picture-taking.

The majority of the afternoon consisted of overcast conditions which suited me fine – it made things much simpler and I could record wide scenes without too much contrast.

The low light inevitably meant slow shutter speeds and this was perfect for creating movement in the water. I personally love the effect of these long shutter speeds.

For all the images I used a polarising filter. The effect can be surprisingly striking: even in heavily overcast conditions a quick twist of the filter and the colours really leap out – with both greens and oranges becoming equally vibrant.

This was particularly true when photographing this magnificent beech tree by the water’s edge. I kept checking the effect of the filter, rotating it a few times to make sure it was having maximum effect. Exposure wise, the meter was fairly accurate. If anything I underexposed slightly for some shots.

As a professional photographer I often have specific markets in mind and whilst this is generally a good thing, it can stifle creativity. When I finally checked on the time I realised I’d been in the wood for nearly 2 hours. My first thought was how quickly the time had flown, but then something else gradually dawned on me. In all that time – I hadn’t really thought about the picture-taking. Sure, I’d considered the composition and all the technicalities of maximising sharpness and depth of field, but in all that time I hadn’t consciously thought about what I was photographing or why. Everything I had been doing was simply guided by instinct; intuition. All those little tweaks of position, angle; the play of light – they were all done with feel – as I strived to create something that satisfied me, and nobody else. There’s no doubt in my mind that this is when we achieve our most rewarding images.

Now that I felt I was getting ‘under the skin’ of this special place I turned my attention towards the water and let my instincts work on creating more abstract images.

The leaf colour by the water was stunning and I worked on some closer images using this clean backdrop.

The leaves were barely staying still due to the light breeze so I deliberately used a slower shutter speed to create movement and much more abstract image of autumn colour.

Another abstract but this time allowing the scum on the water to record as streaks whilst the autumn trees remained still.

My last shots of the day were of the weir surrounded by autumn colour. By this point the light was failing and it was becoming too dull for good rendition of the colours.